From being practically marginal singers and viewed with disdain no more than 30 years ago, countertenors have become real stars followed with fervor by the public. Undoubtedly, their growing prominence in the baroque repertoire has had a lot to do with this popularity, but it is by no means limited to it, since they also play a prominent role in the more strictly contemporary creation.

Its priority broadcast in Mechanism 2 in the high-level or mezzo field defied the expectations of the vast majority of classical audiences. And in his assessment it did not help much that, from past times, the insidious term of falsetto was applied to his phonation, with what it entailed of suggesting falsehood or artificiality.

Starting from the establishment of the four mechanical patterns of phonation, the author approaches the figure of the countertenor with a global character: its history, its correct classification, its vocal technique, its presence in the historically informed interpretation ... In short, The countertenor, a solid and exhaustive study, is the vindication of a decisive voice that, since it arrived, has become an essential part of the musical practice of our days.